Indux Dynamics Inducer

ABSTRACT

This invention creates an entirely new category of the dynamics processing of audio signals or recordings, primarily but not exclusively for musical and sound designing purposes. This invention applies the gain variation (dynamics, or amplitude ups and downs) of a source signal to another signal to whatever degree desired, thereby “inducing” its dynamic content into that signal (at various envelope, frequency, and percentage parameters if desired), rendering a unique and innovative audio effect. This radical new method of amplitude (or gain) control shall be called “induction,” thus the invention is titled Indux Dynamics Inducer.

RELATED PATENT APPLICATION

This nonprovisional patent application for the invention entitled “Indux Dynamics Inducer” claims the benefit under 35 U.S.C. 119(e) of U.S. Provisional Patent Application No. 62677098 likewise entitled “Indux Dynamics Inducer,” filed on May 28, 2018, incorporated herein by reference for all purposes.

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BACKGROUND OF THE INVENTION

This invention pertains to the field of audio processing, primarily but not exclusively for musical and sound designing purposes. This invention is preferably, but not exclusively, for the digital signal processing realm. Its proprietary process and embodiments can be implemented in software on a general or special purpose computer processor or be implemented in hardware or firmware. This invention is so innovative that it has created an entirely new category of dynamics processing called “induction” (thus the name Indux Dynamics Inducer), as will be explained throughout the specification. As such, it does not fall under traditional dynamics processing categories, fitting more closely into U.S. Class 1/1, CPC Class H03G 99/00 H03G 1/00, and H03G 2201/50, and H03G 2201/70, which will cover this new principle of “inducing” audio amplification/gain, that is, the dynamic content of audio signals.

Traditionally, audio dynamics processing in music production and mixing, as well as sound design and other audio fields, involves compressors to attenuate the sounds of certain tracks, tighten the dynamic range of a signal, etc. Also, limiters, gates, and expanders exist as other dynamic processing options. While these tools have their different uses, the industry still lacks the means of taking the dynamic signature of one source of audio and applying it to other audio signals. For example, at the current state of audio technology, an audio track of a drum kit may be used to attenuate the sound of a piano whenever the drums are struck (compression), or can be used to tell the piano signal to turn on or off (gating), or even expand the piano's dynamic range (expansion), yet there is no method in existence to take the variation of audio gain, that is, the loudness and softness across time (dynamics), of the drumkit and apply it to that guitar track, either simply, or at a chosen percentage or envelope. This is just one small example of how the audio processing industry is missing a significant and powerful tool for music creation, sound design, and other fields of audio production without the capability to take one signal's variation in amplitude and shape and apply it to another signal. This invention innovates an entirely new field of audio dynamics processing, and will give producers, musicians, sound designers, etc. a powerful new creative tool for processing sound.

BRIEF SUMMARY OF THE INVENTION

The following summary is intended to demonstrate the general idea of the invention and is not to be construed to limit the scope of the claims. The present invention provides a method of dynamics processing that applies the gain variation (dynamics), i.e. the ups and downs of amplitude, of a source signal to another signal, thereby “inducing” that signal, rendering a unique and innovative audio effect. The embodiments bring about this invention's novel principle of “induction.” Specific embodiments may be implemented to allow “induction” at varying percentages and at a varying dynamic envelope, etc. for more creative options.

Rather than using the gain of a side-chain signal to reduce the affected signal by a ratio as with a compressor, with Indux, a gain increase in the side-chain will trigger a gain increase in the affected audio to the percent set by the mix knob, thus “inducing” a sound. This is a unique and proprietary process in dynamics processing that has creative uses in music production, sound design, mixing, mastering, live performances, and elsewhere.

This invention has pioneered the field of audio signal processing by creating a new principle of dynamics processing, whereby one audio signal's variation in amplitude or gain or level (known as dynamics), that is, its variation of loudness and softness, is applied to another audio signal to “induce” the dynamics of the affected signal. This novel principle of “induction” can be achieved with a computer software plugin for digital signal processing, the industry standard method for achieving audio effects for music and sound design, and can also be achieved with hardware or firmware. At the current state of audio signal processing, the dynamic content of a sound can only be used to reduce (compression), limit (limiting), expand the dynamic range of (expander), or turn on (gating) another signal. The industry completely lacks the ability to apply the change in dynamics of one signal to another signal, either to partially infuse one signal into another (to add rhythm or for whatever purpose), or to fully conform one sound to the loudness and softness of another. Conventional dynamics processing involves taking the dynamics of one audio source to create an inverse effect on another signal when the gain of the side-chain signal increases above a threshold (side-chain compression), or to determine when to unmute an audio signal (side-chain gating). The audio industry is missing the processing tool that can tell the affected signal to increase its amplitude when the amplitude of the source signal increases, and decrease its amplitude when the amplitude of the source signal decreases, all to a selected percentage. For example, the audio signal of the percussive keys of a piano track can be used to add a percussive impact to a constant-volume pad track with this invention, which is otherwise impossible with the current tools available. Likewise, a drum kick sound can “induce” another signal which can combine with the kick sound to enhance it. Current technology can enable the kick to unmute the other signal when the kick strikes. This basic on and off principle of gating lacks the capability to use the actual dynamic content of the kick to directly influence the dynamics of the other sound, which would create a natural and believable new sound. This is one of countless examples of how current technology falls short and how this invention pioneers the field of dynamics and solves numerous problems.

For an additional example of my invention in use where current technology falls short, a fast synth arpeggiator can add a driving pulse to a slow-moving string ensemble, adding to the original string dynamics instead of strictly conforming them (unless more of a conforming approach is desired!). In yet another example, a resonant pad that has dull dynamics can be “induced” with the strike of a mallet on metal to give the pad an attack that makes the overall sound like a chime or bell. In the field of sound design, the crescendo sound of a plane flying by can “induce” a crescendo in a bass signal track that can be added to the plane signal to give depth and body to the hum of the plane. The opportunities of using my “induction” principle are endless, and there are far more embodiments of my “induction” principle which will be detailed later. While this invention does so much more when covered in depth, this covers the general idea of a novel and nonobvious principle of using the dynamics of one signal to “induce” other signals. The industry has lacked this tool for too long, it's time to “induce”! My invention is preferably expressed as a digital signal processing plugin yet can be embodied through other means. This invention applies the variation in audio gain (dynamics) of one audio signal (the side-chain signal) to another audio signal (the affected signal) at the control of a graphical user interface, giving an effect completely different from the industry standard dynamics processing side-chain driven compressors, gates, or expanders. The purpose of this invention is to take one signal's gain variation and apply it to “induce” corresponding dynamics in another signal, either adding upon the signal's original dynamics or conforming the signal into the new dynamic content. This invention may be implemented in software, hardware, or firmware.

BRIEF DESCRIPTION OF DRAWING

The provided drawing is given to depict and demonstrate the present invention and the principles of its functionality and features. Its embodiments are not to be construed to limit the scope and principle of the invention and may be altered without departing from the scope of the invention. FIG. 1 illustrates a user interface which can be used to perform the processing method according to the embodiments of the present invention.

DETAILED DESCRIPTION OF INVENTION

In the following description of the present invention, reference is made to the accompanying drawing, in which various embodiments by which the invention may be practiced are illustrated. It is to be understood that other embodiments may be used, and structural and functional modifications may be made without departing from the scope and principle of this present invention.

This present invention provides an entirely new category and method of audio dynamics processing that is completely different from the current industry dynamics processing technologies of compression, expansion, limiting, gating, transient adjusting, leveling, etc. This invention applies the variation in gain (dynamics), i.e. the ups and downs of amplitude, of a source signal to another signal, thereby “inducing” the dynamics of the affected signal, rendering a unique, novel, and highly useful audio effect. The level of “induction,” that is, how much of the dynamics of audio signal A (the side-chain signal) are applied to signal B (the affected signal), can be variably controlled to dial in the effect as desired by the user, providing even more flexibility for an already creative effect. Further, the dynamic content sent by the side-chain signal can be preshaped with an envelope that can, for example, lengthen the attack and release time of the dynamic effect being applied without lengthening the release time of the original track from which the dynamic signature is being sent. Also, the side-chain signal sent over to this invention's embodiments (whether software, hardware, or firmware), can be preshaped in frequency as well as envelope. For example, using a built in EQ, the sound of a drum track can be carved with EQ to remove the deep bass, leaving only the higher frequencies to “induce” the affected signal. While the opportunities of tweaking the embodiments that aid the main embodiments of this invention are endless, the novel principle of taking the variation in gain (or the ups and downs of amplitude) of a source signal and applying it to a partial or full percentage to “induce” an affected signal or multiple signals stands as the main principle of this invention. Audio signals may be analog or digital, live or retrieved from stored files or media. Note: The affected signal which is “induced” can also act as the side-chain signal and “induce” itself if desired. Also, there can be multiple affected signals; this invention is not limited to one signal affecting only one other signal.

To further illustrate the novel principle of “induction,” the embodiments of the drawing of FIG. 1 will be analyzed. FIG. 1 illustrates a user interface that can be used to perform the processing method according to the embodiments of the present invention and thus achieve the “induction” effect. Walking step by step through the interface, whose depicted embodiments shall not be construed so as to limit the modification addition of embodiments which shall not depart from the present invention:

-   -   The side-chain button/meter/knob group that controls the         incoming side-chain signal whose dynamics will be used to         “induce” the dynamics of the affected signal.     -   A “Side-chain scope” window that generates a scrolling waveform         display of the side-chain signal audio. When the “EQ” button is         pressed, this window displays an equalizer to control which         frequencies of the side-chain signal will be used to “induce”         the affected signal.     -   The “mix” knob group contains the knob, buttons, and a meter         that control and indicate the proprietary “inducing” process.         The mix knob in the center controls the percentage of the         “inducing” effect. The mix knob is the main tool that controls         the proprietary “inducing” process. It determines the percentage         to which the dynamics of the side-chain signal are applied to         the affected signal according to either the “trigger” or “push”         mode. The “Induction” meter displays the real time amount of         gain “inducing” the affected audio track. One of the two buttons         under the mix knob will be depressed at all times and will         determine the method by which the side-chain signal will         “induce” the dynamics of the affected signal. The “trigger”         button dictates that the more the mix knob is increased, the         more the affected audio signal is conformed to the side-chain         dynamics. For example, if a snare drum is the side-chain signal,         and a sustained pad is the affected signal, in trigger mode with         the mix percentage at full, the sustained pad will be completely         attenuated until gain from the snare is fed through the         “induction” system, where the dynamic signature of the snare hit         will then “trigger” a matching dynamic increase and decrease in         the gain of the pad signal. To further illustrate, at 50% mix in         “trigger” mode, the pad will be 50% attenuated in expectation of         the side-chain signal's input; once the snare side-chain comes         through the system, its dynamics will be applied to the pad at         50%. 50% of the end affected signal is its original, 50% is the         side-chain, with the original signal level coming down to make         space for the “triggering.”

On the other hand, the “push” button preserves the gain variation of the affected signal and adds the side-chain gain variation on top of the normal dynamics, thus “pushing” the existing signal with the side-chain signal. In push mode, the affected signal is added upon by the side-chain “induction” signal, the result being a higher gain signal than the original, rather than being conformed to the side-chain as in trigger mode.

-   -   The envelope group contains four knobs, A for attack, D for         decay, S for sustain, R for release, all constituting an ADSR         envelope to shape the way the dynamics “induce” the affected         audio track. There is also an ON button to toggle the ADSR         envelope on and off. The envelope group also has a “Transient”         button that when pressed automatically reduces the side-chain         audio signal to its transient peaks, which can then be shaped by         the ADSR envelope and then be used to “induce” the affected         signal. Removing all sustain of the side-chain signal by         reducing it to its transients is an innovative way to perform         more rhythmic effects on the affected signal. The envelope group         opens up countless more options to this already radically         creative invention.     -   The “effect scope” is a scrolling waveform display that shows         the “inducing” effect on the affected audio.     -   The level group contains two knobs and three meters. One knob         controls the amount of input gain by the affected signal, the         other controls the output gain after the affected signal has         been “induced.” One meter shows the input gain, one shows the         output gain, and the other shows the gain reduction or addition         by the entire “inducing” process.

To distinguish this invention from other inventions in the audio processing field, specifically, the dynamics processing field, I will compare my invention to other dynamics processing tools and explain the difference, demonstrating the uniqueness of Indux Dynamics Inducer. While some of the current industry's tools may attempt to replicate the effect of this invention, none can achieve what this invention does.

To explain how this invention differs from a gate or expander: An audio gate allows the affected signal to turn on or become louder when passing a selected threshold, and an expander increases the dynamic range of a signal according to a selected threshold. While an attempt could be made to replicate the “induction” effect by side-chaining a source signal to control an affected signal's gate or expander (or gate/expander two-in-one processor), this procedure will only allow for the sound to play according to its original dynamics when triggered by the sidechain and passing the threshold, or to be modified with a strange ratio of dynamic range expansion if the gate is not set to the infinity ratio (and thus becomes an expander). While the further attempt could be made to use attack, release, hold, or similar controls on the gate to control its dynamic effect on the affected track when triggered by the side-chain signal, nevertheless, the dynamic content of the side-chain signal is not being applied to the affected track, it is only telling the track when to turn on or off with special envelope controls. The present invention is clearly different than a gate as well as an expander. This invention provides a unique audio effect that simply cannot be achieved with a gate or expander.

The present invention is distinct from a morphing processor. While a morphing processor may use the envelope qualities of one sound to morph another, this morphing field is separate from the principle of “induction.” The present invention's principle of “induction” applies and infuses the dynamic movement of one signal on top of another signal's dynamics, it does not morph one sound into the exact envelope of another. While this new principle of “induction” could in theory be used to achieve something of a dynamic morphing effect, the principle of taking the dynamics of a source signal and applying/adding (after some manipulation if desired) them to another signal to a specific degree are not present in the principle of morphing and are unique to this present invention.

To show how the present invention also differs from an ambient noise compensator: The purpose of an ambient noise compensator is to match the volume of one signal to another signal (or potentially raise it above), the ambient noise signal, so that the first signal may be discerned above ambient noise. While an ambient noise compensator uses the level of one track to set the level of another, this type of processing is clearly different from applying the dynamics of one signal upon another, as this present invention uniquely does.

The present invention is also clearly different from compressors, limiters, and levelers, which are designed to reduce, limit, and control the level of a sound. The present invention changes the inherent dynamics of a signal using the dynamics of another signal. In contrast, compressors reduce the dynamic range of a signal, they cannot apply one signal's dynamics upon another. Also in contrast, limiters prevent audio levels from going higher than a certain point; this functionality is clearly different than the present invention. Further in contrast, a leveler (also known as automatic gain control) increases or decreases the level of a signal over time to maintain a desired level, not to infuse a sound's dynamic qualities with the dynamic qualities of another signal. A leveler acts as volume control to keep a desired output level, in contrast to the present invention, which infuses dynamics into another signal. Clearly, compressors, limiters, and levelers are completely different from the present invention in purpose and functionality.

It must also be noted that existing technologies such as gates, expanders, compressors, and limiters require setting a threshold of gain in order to make their effect. The present invention has no threshold to make its effect; instead, it applies the ups and downs of gain/amplitude of a signal and applies that to a specific degree, envelope, and mode upon the affected signal or signals without a gain threshold. The present invention creates an entirely new category and method of dynamics processing, different from existing dynamics processing tools.

The name of the present invention illustrates its unique and non-obvious audio effect: “Indux,” the first part of the title, stems from the Latin word “induxi” which means “influence or induce.” Pursuant to this etymology, “Indux Dynamics Inducer” influences and “induces” the dynamics of one signal according to another signal's dynamic content (its amplitude or gain ups and downs). The present invention is clearly distinct from all other inventions in the audio dynamics processing field.

One or more aspects of this invention may be embodied in computer-usable data and computer-executable instructions, such as in one or more program modules, executed by one or more computers, processors, or other devices. Program modules may include routines, programs, objects, components, data structures, etc. that perform particular tasks or implement particular abstract data types when executed by a processor in a computer or other device. The functionality may be implemented as desired in various embodiments. The computer-executable instructions may be held on a computer-readable medium such as solid state memory, hard disks, optical disks, removable storage media, random-access memory, flash drives, and more. Further, this invention's functionality may be embodied in whole or in part in firmware or hardware equivalents such as integrated circuits (IC's), field programmable gate arrays (FPGA), and other similar devices. Additionally, embodiments may be placed in the hardware or firmware of new apparatuses.

This invention has been described in language specific to structural features and/or methodological acts, and it must be understood that the subject matter defined in the appended claims is not necessarily limited to the specific features or acts described. The specific features and acts described above are disclosed as example forms of implementing the claims and shall not be construed to limit the addition or modification of embodiments within the scope of this invention. The specific embodiments described are not to be construed to limit the principle of the present invention and may be altered or modified without departing from the scope and principle of the present invention. 

What is claimed is:
 1. An audio signal processing method wherein the variation in gain (dynamics), or the ups and downs of amplitude or signal level (dynamics), of a source audio signal or recording is applied to another audio signal or recording, thereby “inducing” the dynamics of that signal or signals, so that when the source signal increases or decreases in amplitude or gain, a corresponding increase or decrease of amplitude or gain is applied to the affected signal according to set parameters.
 2. The method of claim 1 wherein the way of applying the dynamics can optionally further be determined by a user interface.
 3. The method of claim 1 wherein the application of the dynamics of the source (side-chain) signal to the affected signal can optionally further be controlled to a percentage or degree, rather than either fully applying or not applying at all.
 4. The method of claim 1 wherein the mode of applying the dynamics can either conform the affected signal to the dynamic content being applied (“trigger” mode) or add upon the gain of the affected signal (“push” mode).
 5. The method of claim 1 wherein the dynamic content drawn from the side-chain signal can (optionally, to further the effect's potential) be manipulated with (potentially and not exclusively) an envelope so that the attack, decay, sustain, and release of the “inducing” effect can be tailored to creativity's desire. 